English Entertainment
Jimmy Fallon & Taylor Swift among first winners for 67th Emmy Awards
MUMBAI: The Television Academy has ousted the juried award winners for the 67th Emmy Awards in the categories of Animation, Costumes for a Variety Program or Special, Motion Design and Interactive Media.
Winning big this year are Jimmy Falon, Taylor Swift and Chris Hardwick amongst others.
The juried awards will be presented during the Creative Arts Emmy Awards ceremony on 12 September.
This year’s juried winners include:
Outstanding Individual Achievement in Animation
Adventure Time Walnuts & Rain • Cartoon Network • Cartoon Network Studios
Tom Herpich (storyboard artist)
Gravity Falls Not What He Seems • Disney XD • Disney Television Animation
Alonso Ramirez Ramos (storyboard artist)
King Star King Fat Frank’s Fantasy Lounge • Adult Swim • Titmouse, Inc.
JJ Villard (character design)
Over The Garden Wall • Cartoon Network • Cartoon Network Studios
Nick Cross (production design)
Robot Chicken’s Bitch Pudding Special • Adult Swim • A Stoopid Buddy Stoodios Production in association with Stoopid Monkey and Williams Street
Bradley Schaffer (character animation)
Tome of the Unknown • CartoonNetwork.com • Cartoon Network Studios
Nick Cross (background painter)
Tome of the Unknown • CartoonNetwork.com • Cartoon Network Studios
Chris Tsirgiotis (background layout designer)
Outstanding Costumes For A Variety Program Or A Special
Drunk History Hollywood • Comedy Central • Gary Sanchez Productions
Christina Mongini (costume designer) and Cassandra Conners (costume supervisor)
Super Bowl XLIX Halftime Show Starring Katy Perry • NBC • NFL Network
Marina Toybina (costume designer) and Courtney Webster (assistant costume designer)
Outstanding Motion Design
How We Got To Now With Steven Johnson • PBS • Nutopia, BBC Worldwide Productions
Miles Presland Donovan (creative producer), Luke Best (art director/illustrator), Peter Mellor (animation director) and Chris Sayer (animator)
Outstanding Creative Achievement In Interactive Media
Multiplatform Storytelling
Archer Scavenger Hunt • FX Networks • FX Productions
Tim Farrell (Transmedia director) and Mark Paterson (Transmedia lead)
The Singles Project • Bravo Digital in association with all3media, Goodbye Pictures and Lime Pictures • Bravo
Bravo Digital, Bravo Production, all3media, Goodbye Pictures, Lime Pictures
Original Interactive Program
Emma Approved • YouTube.com/Pemberley Digital • Pemberley Digital, Kin Community
Bernie Su (executive producer), Tamara Krinsky (story editor), Alexandra Edwards (Transmedia producer & writer), Tracy Bitterolf (producer) and Kate Rorick (co-executive producer).
AMEX Unstaged: Taylor Swift Experience • americanexpress.com/unstagedapp • RadicalMedia, American Express
Taylor Swift (artist and executive producer), American Express, RadicalMedia
Social TV Experience
@midnight With Chris Hardwick • Comedy Central • Comedy Central, Funny or Die, Nerdist Industries, Serious Business, Aloha Productions, Garant Lennon Productions, Brillstein Entertainment Partners
Chris Hardwick (host/executive producer), Jack Martin (executive producer), Joe Farrell (executive producer), Jason U. Nadler (executive producer) and Myke Furhman (Multiplatform producer).
The Tonight Show Starring Jimmy Fallon • Universal Television and Broadway Video • NBC
Gavin Purcell (producer), Marina Cockenberg (director of social media), Jimmy Fallon (host), Christine Friar (social producer) and Felicia Daniels (NBC.com)
User Experience And Visual Design
Sleepy Hollow Virtual Reality Experience • FOX • A FOX Broadcasting Company production in association with Secret Location
Robin Benty (executive producer), Secret Location, Noam Dromi (producer), Jay Williams (executive producer) and Fox Broadcasting Company
The 2015 Creative Arts Emmy Awards will be executive-produced by Bob Bain, and an edited version will be broadcast on 19 September. They also will be streamed in their entirety on Emmys.com, Yahoo.com and FOX.com on 20 September.
English Entertainment
The end of Freeview? Britain debates switching off aerial tv by 2034
UK: The aerial is losing its grip. As broadband becomes the default way Britons watch television, the UK is edging towards a decisive, and divisive, question: should Freeview be switched off by 2034? The issue, highlighted in reporting by The Guardian, has exposed deep fault lines over access, affordability and the future of public service broadcasting.
For nearly 25 years, Freeview has delivered free-to-air television from the BBC, ITV, Channel 4 and Channel 5 to almost every corner of the country. Even now, it remains the UK’s largest TV platform, used in more than 16m homes and on around 10m main household sets. Yet the same broadcasters that built it are now pressing for its closure within eight years.
Their case rests on a structural shift in viewing. Smart TVs, superfast broadband and the Netflix-led streaming boom have pulled audiences online. Advertising economics have followed. By 2034, the number of homes using Freeview as their main TV set is forecast to fall from a peak of almost 12m in 2012 to fewer than 2m, making digital terrestrial television, or DTT, increasingly costly to sustain.
But critics say the rush to switch off risks abandoning those least able, or least willing, to move online.
“I don’t want to be choosing apps and making new accounts,” says Lynette, 80, from Kent. “It is time-consuming and irritating trying to work out where I want to be, to remember the sequence of clicks, with hieroglyphics instead of words. If I make a mistake I have to start again.”
Lynette is among nearly 100,000 people who have signed a “save Freeview” petition launched by campaign group Silver Voices. She fears the government is about to “take [Freeview] away from me and others who either don’t like, can’t afford, or can’t use online versions”.
Official figures underline the fault lines. A report commissioned by the Department for Culture, Media and Sport estimates that by 2035, 1.8m homes will still depend on Freeview. Ofcom’s analysis shows those households are more likely to be disabled, older, living alone, female, and based in the north of England, Wales, Scotland and Northern Ireland.
Freeview is owned by the public service broadcasters through Everyone TV, which also operates Freesat and the newer streaming platform Freely. After two years of review, DCMS is expected to set out its position soon, drawing on three options proposed by Ofcom: a costly upgrade of Freeview’s ageing technology; maintaining a bare-bones service with only core PSB channels; or a full switch-off during the 2030s.
The broadcasters have rallied behind the third option. They argue that 2034 is the logical cut-off, when transmission contracts with network operator Arqiva expire. By then, they say, the cost of broadcasting to a dwindling audience will far outweigh the returns from TV advertising.
Ofcom agrees a crunch point is approaching. In July, the regulator warned of a “tipping point” within the next few years, after which it will no longer be commercially viable for broadcasters to carry the costs of DTT.
Others see risks beyond economics. Questions remain over whether internet TV can reliably deliver emergency broadcasts, such as the daily Covid updates, in the way that universally available DTT can. The UK radio industry has also warned that an internet-only future for TV could push up distribution costs and force some radio stations off air if PSBs no longer share Arqiva’s mast network.
“It is a political hot potato,” says Dennis Reed, founder of Silver Voices, who says he has “dissociated” his organisation from the government’s stakeholder forum, which he believes is “heavily biased” towards streaming.
The Future TV Taskforce, representing the PSBs, counters that moving online could “close the digital divide once and for all”. “We want to be able to plan to ensure that no one is left behind,” a spokesperson says, adding that rising DTT costs could otherwise mean cuts to programme budgets.
The numbers show the scale of the challenge. Of the 1.8m Freeview-dependent homes projected for 2035, around 1.1m are expected to have broadband but not use it for TV. The remaining 700,000 are forecast to lack a broadband connection altogether.
Veterans of the analogue switch-off, completed in 2012 after 76 years, recall similar fears of “TV blackout chaos”. Around 6 per cent of households were labelled “digital refuseniks”, yet a targeted help scheme and a national campaign, fronted by a robot called Digit Al voiced by Matt Lucas, delivered a largely smooth transition.
This time, the BBC is less keen to foot the bill. Tim Davie, the outgoing director general, has said the corporation should not fund a comparable support programme for a Freeview switch-off.
Research for Sky by Oliver & Ohlbaum suggests that with early awareness campaigns and digital inclusion measures, only about 330,000 households would ultimately need hands-on help ahead of a 2034 shutdown.
Meanwhile, viewing habits continue to fragment. Audience body Barb says 7 per cent of UK households no longer own a TV set, choosing to watch on other devices. In December, YouTube overtook the BBC’s combined channels in total UK viewing across TVs, smartphones and tablets, albeit measured at a minimum of three minutes.
That shift may accelerate. YouTube has recently blocked Barb and its partner Kantar from accessing viewing session data, limiting transparency just as online platforms consolidate power.
“When the government chose British Satellite Broadcasting as the ‘winner’ in satellite TV it was Rupert Murdoch’s Sky instead that came out on top,” says a senior TV executive quoted by The Guardian. “There already is such an outsider ready to be the winner in the transition to internet TV; it is YouTube.”
Freeview’s future now hangs on a familiar British dilemma: modernise fast and risk exclusion, or protect universality and pay the price. Either way, the aerial’s days as king of the living room look numbered.








